WATCH THE TRAILER BELOW
First, the Recap:
Satisfaction. We yearn for it, ideally, in every aspect of who we are and within the life we’re aiming to find our fulfillment in. Whether it is career, friendships, or perhaps especially in a marriage, we desire to know we’re wholly successful and content. However, as we all know, life is that thing that doesn’t always grant us things in the manner we want, sometimes if at all. How we then cope with the frustrations that build up can lead down paths not so much for our benefit. Or, at least if not faced and dealt with.
On the surface, some might think that farming couple Marie (Maaike Cafmeyer) and Cyriel (Wim Willaert) are not that bad off. Yet, there is a conspicuously lingering atmosphere of pent-up, ingrained agitation boiling between them. With no children, it is soon apparent that the void is growing, relentlessly stifling anything that might remain in each of them towards the other. But, when the farm receives a new, and quite–robust–bull, it sets off a chain of instances that will both unhinge and re-connect the pair in the most peculiar yet potent of ways.
Next, my Mind:
If there was ever a fantastic example of the fiery beating heart and highly unique, fresh, impactful artistry that thunders in the arena that is independent cinema, then look no further than this excellently eccentric, wholly raw, stirringly emotive, deeply human 20-minute short film from Belgian writer/director/producer Victor Nauwynck, writer Shir Ariya, producers Antonio Donato, Siddharth Bala Kumar, and Patrick James Verlin along with executive producer Maarten Moerkerke that turns the entire notion of marital counseling on its head and then some. This critic constantly marvels at the sheer degree of creative boldness that exudes from these filmmakers who are willing to address commonly explored themes yet discover the means to make it so much more ORIGINAL in execution. Hence, the intended messages are not only present, but punch you in the face with a fearless and provocative purpose, which is precisely what occurs in spades here.
With a narrative focused on the already evident division between a husband and wife, their ongoing descent into total disconnection, and the rather–unorthodox–catalyst that rekindles what has been lost for far too long between them, it is a simmering, visceral, candid exhibition of human nature, what divides us, what drives us, the yearnings for acceptance and to be wanted, and what it DOES take to finally make us recognize, accept, then cross the chasm to find it all again. What makes this film continuously brilliant beyond just its foundational unconventionality is the fact that there’s very little dialogue between the two primary characters, relying solely on the amazing visual presentation and setting to define the situations, volatility in emotions, and ultimately culmination of events strictly through what we see and surmise from it. This is a mark of adept direction, writing, and overall delivery that makes this film a stand-out for me. To say the finale is one for the ages would be an understatement, masterfully crafted, and carrying both a cathartic release from the darker tenor of the tale, even adding a touch of humor! Truly exquisite for me.
Now, I would normally be launching into further depth about thematic elements, but at the behest of the film’s production designer, Anastasiya Mykhaylova (who also submitted the film to me to begin with), I have been asked to get into detail about, well, you guessed it, the production design. This is a new turn for a review style, and I will say up front it is both a learning curve and a fascinating new perspective to entertain more when watching a film, in view of my own style of critiquing and how that normally goes. While the film is unmistakably shot ON a farm, there was a LOT more that went into actually making the venue adapt to what the film required. Aesthetics are everything when it comes to visual look for a given film, but often (in my opinion) it’s via the grandiose spectacle of CGI or larger budget efforts, when in truth, design actually seems to lend itself better HERE, in a scaled down context, but with just as much importance and impact.
As Mykhaylova herself states about the experience putting this project together, “This film showcases many challenges I face as a production designer—working with animals, vehicles, numerous food scenes (and the hygiene concerns that come with them), SFX blood, and creating safe, destructible props, among many other things. It also highlights key locations where my set design is prominently featured, such as the barn and farmhouse, which underwent major transformations to become functional spaces. Additionally, the sample includes a custom-built chicken coop designed to accommodate a camera inside. Beyond these elements, this was one of the most challenging sets I’ve ever worked on. Despite tight time constraints, a demanding construction schedule, a limited budget, night shoots, and bad weather, I’m incredibly proud of what we accomplished.”
It very much shows here, that intricate attention to EVERY minute and obvious detail, from the farm grounds, which for the sake of this film’s edgier, somber mood, were depicted via a more gritty tone to match what the character’s themselves were confronting. From the implements to generally decayed conditions, the chaotic nature of it consummately reflects the already present, unsettled atmosphere that is pervasive in the narrative’s course. The spartan interior of the couple’s home likewise matches this goal of creating the sense of utter separation the pair currently know, with the deftly muted color schemes, lack of any genuine decorations, or remote sense of family. It all speaks to isolation, both physical and emotional, which now that I am attempting to look at things from the production design angle, is so intelligently constructed and wholly apropos, making the character’s surroundings almost a character in itself. This is a testament to Mykhaylova’s, along with her team’s, skills brought to bear to ensure that we as the viewer aren’t just getting random, erratic settings to absorb here, but tangible, relevant elements integral to the grander story.
It is also good to note the utilization of a specific physical item–the couple’s tractor. When I state that it’s use is multi-purpose here, much less astutely constructed to be abused, it’s another stroke of genius by Mykhaylova in how it’s employed to further illustrate the rupture in relationship between two people. Turning back to acting, Cafmeyer and Willaert are simply exceptional on ALL fronts, both individually and together, though their respective roles as Marie and Cyriel, a farming couple who’ve severely fallen outside of “seeing” each other, much less being intimate to any extent, now barely “living” at all. Buried in the mundane (albeit necessary) daily routine while hardly acknowledging each other beyond apathetic or disquieting stares. As each chooses how to make the effort to face the increasing tension, the arrival of a new bull to the farm alters their reality, mindsets, and actions to radical magnitudes.
Cafmeyer just oozes the demeanor of a woman both scorned and forgotten about, filled with aggravations and desires of loneliness, just wishing to be NOTICED again. The facial expressions and body language that Cafmeyer calls upon to exude such mercurial shifts in manner and the drastic actions Marie starts to resort to is just sublimely portrayed by the actress. In a different yet similar fashion, Willaert displays the depth of apathy but also a heartbreaking vulnerability and sense of being lost and confused that Cyriel is experiencing with a subdued but burning intensity that slowly begins to come out as the story progresses, causing his character to also “act out” in quite a unique way when suddenly feeling threatened as a man. It’s the portrait of Cyriel being somewhat emasculated before re-establishing in an energetic, firm, yet playfully dominant manner what he’s also been wanting between he and Marie once more. It’s an excellent, noteworthy performance.
The only supporting turns arrive from Sam Louwyck as the seller of the newly delivered bull and Geert Lavens as his assistant, the latter of whom in real life is actually part of the family the farm being used for the film belongs to. So, in total, from both the production design and overall execution perspectives, “The Bull” represents the superb creative flow and essential distinctiveness of the indie film, delivering a fully engaging, unapologetically candid, eminently powerful tapestry illustrating our human frailties and virtues, what it is to lose sight of what we love, get reminded in the most unexpected ways, and the ultimate beauty of restoring what we ALL need more of as it is–hope and adoration.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
